CENTER FOR ART AND ARCHAEOLOGY

Subject: Garbhagrha, north wall, makara torana

Subject: Antechamber, shrine door right top, makara with rider

Subject: Porch, south face of column with makara motif, from porch interior

Subject: Lakshmi facing left standing on a makara to the left, holding a long-stemmed lotus in her left hand, her right hand extended to her side; behind a tall crescent-tipped and filleted scepter [Gold Dinar, Reverse, Tiger-Slayer type]

Subject: Fragment, Half Lotus Medallion with band in design of Makara and Scroll below

Subject: Gudhamandapa, north wall detail: makara drainspout

Subject: Buddha's throne-back detail ,right, makara and vyala

Subject: A small cave, interior, torana with makara head, detail

Subject: Base, makara at corner and genre scenes to right of ascetic with panca-tapas; panca-tapas means five fires

Subject: Mandapa pillar, detail: makara scroll and Kirttimukha

Subject: Right aisle, rear end pilaster, showing makara with floriated tail in lotus medallion. On the bracke

Subject: Left aisle, front pilaster, detail, carving of makara in lotus medallion

Subject: Mandapa ceiling, Interior beams with makara motifs

Subject: Shrine door, top left, female standing on makara under a tree, amorous couple, vyala, detail

Subject: Boat. Tarakasi is a type of silver filigree work from Cuttack. Temples across Odisha possess silver filigree works offered by devotees as votives and gifts on festive occasions. Decorative artifacts such as these boats on a makara (legendary sea creature) are preferred mementoes and souvenirs for tourists.

Subject: Rangamandapa, makara torana view

Subject: Mukhamandapa, south wall, Makara torana fragment

Subject: Vedika, southeast quadrant, outer face, pillar, detail, central medallion, Kari makara disportng with lotus

Subject: Parvati: Parvati is standing in tribhanga (triple bent) pose on a lotus pedestal over a bhadra peetah. The hands are seen in kataka and Iolahasta. She has a karanda mukuta and makara kundalas. Traces of trivali (three folds) can be seen on the abdomen. The waist zone is elaborately worked with tassels hanging from the sides and the center. Armlets, bracelets, padasaras (ornaments), necklaces and yajnopavita (sacred thread) have also been sculpted.

Subject: Hall, pillar, painted lions and makara head on the pillars shaft

Subject: Parvati: Parvati is the consort of Shiva, here standing in the thrice-bent or tribhanga pose that was preferred by the Chola artists. Her right hand is in kataka mudra; the left arm in lola hasta. The hair is dressed into a high bun. Behind the head there is a flowerlike siras cakra (disc for hanging garlands). Other details include a sacred cord, keyura armlets, makara kundala ear pendants, garlands on both shoulders, and padasaras on the feet. The figure stands on a circular lotus pedestal with holes for fixing the image to a processional carrier.

Subject: East Facade, north end: decorative arch with makara motif; Built during the reign of Vikramaditya II by Queen Lokamahadevi to commemorate her husband's victory over the kings from the South. The temple was originally called Lokeshwara.

Subject: Shivakamasundari: Parvati stands on a lotus pedestal over a square Bhadra Sana, has a karandamakuta (crown resembling a basket) on her head. She wears makara kundalas in her ears. Her right hand is in the attitude of ahuyavarada (gesture of fearlessness) and the left hand is in lolasana (pendant pose). This is back view of the image.

Subject: Buddha's throne-back detail, right, makara and vyala